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Veza između medicine i književnosti poznata je još iz antičkog grčkog, Aristotelova vremena ; tako semiotika još od antike slovi kao grana medicine (Barthes 1972 ; Romeo 1977 ; Bär 1988 ; Meier- Oeser, 1996). Cilj rada je ustvrditi kako je medicinski problem abortusa kao kontracepcijskog sredstva (engl. birth control) riješen u književnosti. Iz književnog emocionološkog aspekta istražit će se diskurzivna reprezentacija abortusa, divergentne problematike na margini, na primjeru psihološke drame Posljednja karika (1994.) Lade Kaštelan. U središtu drame je protagonistkinja koja na razmeđu Eros-Thanatos zdvaja nad prisilnim prekidom trudnoće. Iako je za ovaj književni majčinski identitet očekivana stereotipna ranjiva egzistencijalno- emocijska kategorija, protagonistkinja Posljednje karike odbija deteriorativnu identitetsku kategoriju identitet jednako invaliditet (Alfirević 2021.) pa Kaštelan majci – neimenovanoj protagonistkinji, dodjeljuje radosni emocijski identitet. U simboličkom smislu govoreći o maternicama kao prioritetu “svijeta” (tj. uključenosti problematike ženskih prava u retorike svjetskih politika na gotovo svakodnevnoj razini), upravo je paradoksalno što se o tako aktualnom problemu abortusa u književnoj znanosti ne(dovoljno) govori. Zbog toga što je izazovna, a provokativna tema pa u književnoj znanosti o njoj vlada status quo koncepta šutnje, problematika abortusa u radu će predstaviti, kroz terminološki doprinos, kao “slijepa pjega” književne znanosti. S obzirom da je društveno aktualna problematika abortusa disproportivno tabu-tema u književnoj znanosti (poglavito u Hrvatskoj), želi se ustvrditi pripada li ona isključivo medicinskom, bioetičkom, pravnopolitičkom ili (ne)religioznom aspektu. S druge strane, teorijskim metodološkim postavkama suvremene književnoznanstvene discipline – emocionologije, kroz emocijski pristup književnom identitetu protagonistkinje Posljednje karike svrha je prekinuti dugotrajnu znanstvenu šutnju nad fenomenom abortusa u književnosti te omogućiti daljnji književnoznanstveni dijalog ovom kompleksnom naracijskom konstruktu. Budući je činjenica da je tema abortusa zanemarena u dosadašnjoj književnoznanstvenoj obradi, ovdje je riječ o pionirskom radu kada govorimo o spoju teme abortusa, kao izdvojene i središnje teme rada, koja je teorijski povezana s književnim emocijama – emocionologijom. Da su medicina i književnost u sinergičnom, a ne antagoničnom, odnosu potvrdit će i biblioterapeutski pristup (Crothers 1916., Riordan i Wilson 1989., Shrodes 1949, Bašić 2021.) diskursu o abortivnom Posljednje karike u izdvojenom poglavlju. U konačnici, potonja konstelacija potvrđuje ideju “nagovora” na interdisciplinarnost, za kakav se zalaže i književna emocionologija, a prema postmodernom razumijevanju znanosti. Govor o problematici na margini autorica smatra izrazito važnim pa je temeljna svrha emocionologiju i abortusnu poetiku radom predstaviti kao nove znanstvene paradigme u znanosti o književnosti. SAŽETAK NA ENGLESKOM: The connection between medicine and literature has been known since ancient Greece ; semiotics is regarded as a field of medicine since the ancient times (Barthes, 1972 ; Romeo, 1977 ; Bär, 1988 ; Meier-Oeser, 1996). The aim of this paper is to determine how the medical issue of abortion as a birth control is resolved in literature. A discursive representation of the issue of abortion, a divergent issue on the margins, will be explored from a literary-emotionological perspective on the example of the psychological drama Posljednja karika (1994), written by Lada Kaštelan. In drama’s center is a female protagonist at the Eros-Thanatos crossroads who despairs at the forced termination of pregnancy. Although a stereotypical vulnerable existential- emotional category was expected for this type of literary representation of a maternal identity, the female protagonist of Posljednja karika refuses the deteriorating identity category of identity equals disability (Alfirević, 2021) ; Kaštelan thus gives the mother – an unnamed female protagonist, a joyful emotional identity. In a symbolic sense, speaking of matrices as a priority of the “world” (ie the inclusion of women’s rights in the rhetoric of world politics on an almost daily level), it is paradoxical that such a current problem as abortion is not (sufficiently) discussed in literary science. Because it is a challenging and provocative topic, and the status quo of the concept of silence reigns in literary science, the issue of abortion will be presented in the paper, through a terminological contribution, as a “blind spot” of literary science. Considering that the issue of abortion is disproportionately regarded as a taboo in literary science (especially in Croatia), the paper seeks to determine whether it can be studied exclusively from the medical, bioethical, legal-political or (non)religious aspect. On the other hand, the goal is to break the long-lasting scientific silence over the phenomenon of abortion in literature by using the theoretical and methodological framework of the contemporary literary-scientific discipline – emotionology, i.e., the paper explores the emotionological approach to the literary identity of the protagonist of Posljednja karika and paves the way for further literary-scientific dialogue on this complex narrative construct. Since the fact that the topic of abortion has been neglected in previous literary studies, this is a pioneering work when we talk about the combination of the topic of abortion, as a separate and central topic of work, which is theoretically related to literary emotions - emotionalism. That medicine and literature are in a synergistic rather than antagonistic relationship will be confirmed by the bibliotherapeutic approach (Crothers 1916, Riordan and Wilson 1989, Shrodes 1949, Bašić 2021) to the discourse on abortive The Last Link in a separate chapter. Ultimately, the latter constellation confirms the idea of “persuasion” to interdisciplinarity, as advocated by literary emotion, and according to the postmodern understanding of science. Talking about issues on the margins is considered extremely important, so the basic purpose of emotional studies and abortion poetics is to be presented as new scientific paradigms in the science of literature. |
